Pollock Krasner House & Study Center NEWS Jackson Pollock (1912-1956) is regarded as the undisputed leader of the Abstract Expressionist movement. In 1945, Pollock married fellow artist Lee Krasner (1908-1984) and moved from New York City to Long Island’s East End. With a loan from art dealer Peggy Guggenheim, they purchased a small homestead on one and a quarter acres overlooking Accabonac Creek in The Springs, near East Hampton. Lee Krasner - 22 paintings - WikiArt.org References: Lee Krasner was an influential American abstract expressionist painter in the second half of the 20th century. On October 25, 1945, she married artist Jackson Pollock, who was also influential in the abstract expressionism movement. Krasner was born as Lena Krassner (outside the family she was known as Lenore Krasner) in Brooklyn, New York to Russian Jewish immigrant parents from Bessarabia.

She studied at The Cooper Union and the National Academy of Design, and worked on the WPA Federal Art Project from 1935 to 1943. Starting in 1937, she took classes with Hans Hofmann, who taught the principles of cubism, and his influence helped to direct Krasner's work toward neo-cubist abstraction. When commenting on her work, Hofmann stated, "This is so good you would not know it was painted by a woman." In 1940, she started showing her works with the American Abstract Artists, a group of American painters. Krasner would often cut apart her own drawings and paintings to create collages and, at times, revised or discarded an entire series. As a result, her surviving body of work is relatively small. Her catalogue raisonné, published in 1995 by Abrams, lists only 599 known pieces. She was rigorously self-critical, and her critical eye is believed to have been important to Pollock's work. Krasner struggled with the public's reception of her identity, both as a woman and as the wife of Pollock.

Therefore she often signed her works with the genderless initials "L.K." instead of her more recognizable full name. Krasner and Pollock gave each other reassurance and support during a period when neither's work was well-appreciated. Like Picasso during the brief period of his interaction with Braque, the daily give-and-take of Pollock and Krasner stimulated both artists. Pollock and Krasner fought a battle for legitimacy, impulsiveness and individual expression. They opposed an old-fashioned, conformist, and repressed culture unreceptive to these values, which was put off by the intricacy of Modernism in general. Lee Krasner died in 1984, age 75, from natural causes. She had been suffering from arthritis.

Lee Krasner | National Museum of Women in the Arts National Museum of Women in the Arts East Hampton, New York Training Hans Hofmann School of Fine Arts, New York City, 1937–40; City College and Greenwich House, New York City, 1933; National Academy of Design, New York City, 1928–32; The Art Students League of New York, New York City, 1928; Women’s School of Design, The Cooper Union for the Advancement of Science and Art, New York City, 1926–28 Retrospective Exhibitions Lee Krasner Retrospective, Independent Curators International, Los Angeles County Museum of Art, Los Angeles, 1999; Lee Krasner: A Retrospective, The Museum of Fine Arts, Houston, Texas, 1983 Lee Krasner 1908–1984 Lee Krasner was one of the first generation Abstract Expressionist painters. Through six decades devoted to art, she continually explored innovative approaches to painting and collage.

Born in Brooklyn, New York, to a Russian Orthodox Jewish family, Krasner pursued formal art training at several New York City institutions and also studied with the influential German abstract painter Hans Hofmann. Like many of her generation, Krasner supported herself in the 1930s by working for the Works Progress Administration’s Federal Art Project. Her positions with the Mural Division provided her with valuable experience working on a larger scale. She was also an active member the Artists Union and American Abstract Artists, and her commitment to such activism continued throughout her life. Krasner married the gifted, but troubled painter Jackson Pollock in 1945. Long overshadowed by Pollock, Krasner was actually an established abstract artist well before she met him. Fully engaged in the New York art scene of the ’30s and ’40s, she introduced Pollock to the artist Willem de Kooning and critic Clement Greenberg, among other key figures. During her time with Pollock at their home near Springs, Long Island, Krasner developed her Little Image paintings. Thickly painted with abstract symbols, these works are today considered among her most significant contributions to Abstract Expressionism.

When her 11 year marriage ended with Pollock’s death in an automobile crash, Krasner devoted the rest of her life to promoting Pollock’s art and ensuring his legacy, while also continuing her own exploration of abstraction. In 1978 Krasner was finally accorded her rightful place alongside Pollock, Rothko, and the others in the exhibition Abstract Expressionism: The Formative Years. The last decade of her life also brought numerous honors, awards, and publications. NMWA Exhibitions 1000+ images about Artist - Jackson Pollock on Pinterest | Neon, Study and Black paper Pinterest • The world’s catalog of ideas Artist - Jackson Pollock Jackson Pollock (January 28, 1912 – August 11, 1956), was an influential American painter and a major figure in the abstract expressionist movement. He was well known for his uniquely defined style of drip painting. He was regarded as a mostly reclusive artist. He had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.

18 Pins2.05k Followers Jackson Pollock and Lee Krasner - The art of Jackson Pollock - Pictures - CBS News The art of Jackson Pollock Next Jackson Pollock "There was painting before Jackson Pollock, and there's painting after Jackson Pollock," said Gavin Delahunty, curator of a new exhibit at the Dallas Museum of Art, titled "Jackson Pollock: Blind Spots" (through March 20, 2016). It features more than 70 works by the American abstract expressionist artist, including some of his best-known paintings. But the exhibit focuses mostly on a rarely-seen series, done in 1951, when Pollock painted only in black. By CBSNews.com senior producer David Morgan Credit: Tony Vaccaro/Getty Images "The Flame" "The Flame" (c. 1934-38), oil on canvas, mounted on fiberboard, by Jackson Pollock. Paul Jackson Pollock was born in Cody, Wyoming in 1912, and grew up throughout the Southwest as his family relocated, trying to eke out a living. Encouraged by his mother, Pollock took art classes in high school.

"Those were the only classes he really seemed to be very good at," said Helen Harrison, who runs the Pollock-Krasner Home & Study Center near East Hampton, Long Island. At age 18, Pollock traveled to New York to study with American muralist Thomas Hart Benton. Gradually, however, he became fascinated with abstraction - his work drawing the attention of influential collectors and gallery owners. Credit: © 2016 Pollock-Krasner Foundation/ARS, New York/Museum of Modern Art "Stenographic Figure" "Stenographic Figure" (c. 1942), oil on linen, by Jackson Pollock. Pollock's complex and colorful, multi-layered canvases took the international art world by storm beginning in the 1940s. Credit: © 2016 Pollock-Krasner Foundation/ARS, New York/Museum of Modern Art Jackson Pollock and Lee Krasner In 1945 Pollock married fellow artist Lee Krasner, and the following year she convinced him to move from New York City to East Hampton, Long Island. "I think there was definitely an incentive to get him away from the drinking buddies," said Helen Harrison.

"But also just to give him the space, and the kind of mental space, that he needed to really develop himself. And he did." The two were photographed on Long Island in April 1949 for a Life Magazine profile of Pollack. The article suggested he was America's greatest living painter. Credit: Martha Holmes/The LIFE Picture Collection/Getty Images "Cathedral" It was in East Hampton that Pollock developed the style that really made him famous: dripping and pouring paint directly onto canvas. Pictured: One of Pollock's most famous works, "Cathedral" (1947), with detail. Credit: © Pollock-Krasner Foundation/ARS, New York/Dallas Museum of Art Drip Painting "I usually paint on the floor," Pollock once explained. "I enjoy painting on a large canvas. I feel nearer, more a part of the painting." Credit: Martha Holmes/The LIFE Picture Collection/Getty Images In The Studio Jackson Pollock at his studio, 1950. The floor of his studio, now a museum, is still splattered with his colorful industrial paint.

Credit: Hans Namuth/Courtesy of Center for Creative Photography, University of Arizona/© 1991 Hans Namuth Estate "Black and White Painting II" "Black and White Painting II" (c. 1951), oil on canvas, by Jackson Pollock. But just as sales of Pollock's layered abstractions were taking off, in the early 1950s he started to work in black. Credit: © 2015 The Pollock-Krasner Foundation/ARS, New York/Private Collection Studio An undated photographed of Jackson Pollock's studio, by Hans Namuth. His abstractions becomes slightly more figurative, with recognizable images peeking through: a head, an ear, arms. Credit: Hans Namuth/Courtesy, Center for Creative Photography, University of Arizona/© 1991 Hans Namuth Estate "Number 7" "Number 7" (1951), enamel on canvas, by Jackson Pollock. "On some levels you might say it looks like a doodle," said correspondent Rita Braver.

"It's doodle-y," said "Blind Spots" curator Gavin Delahunty, "because he's still thinking it through, 'Can I make paintings exclusively using black on raw cotton substrate that can maintain the tightness and excitement of my classic paintings?' And this is the moment that the penny drops." Credit: © 1997 Pollock-Krasner Foundation/ARS, New York/National Gallery of Art "Number 14" "Number 14" (1951), oil on canvas, by Jackson Pollock. Credit: © Pollock-Krasner Foundation, Inc./Tate Gallery, London "Echo: Number 15" "Echo: Number 15" (1951), enamel paint on canvas, by Jackson Pollock. More lyrical than his earlier drip paintings, "Echo: Number 15, 1951" almost appears figurative. Credit: © 2016 Pollock-Krasner Foundation/ARS, New York/Museum of Modern Art, N.Y.

"Number 15, 1951" "Number 15, 1951" (1951), enamel on canvas, by Jackson Pollock. "It is part of the transition of the black paintings that Pollock starts to resuscitate or bring back to life some of the figuration that had previously dominated in his painting," said Gavin Delahunty. Did anybody rush out to buy them? "No, sadly, not," said Delahunty. "People were confused; 'Why would someone who has just developed a new language of painting go off on a tangent?' But it was Pollock distilling and purifying everything he had learned." Credit: © 2015 The Pollock-Krasner Foundation/ARS, New York/Museum Ludwig, Cologne "Untitled" "Untitled" (1951), ink on Japanese paper, by Jackson Pollock. Credit: Susan and Larry Marx/courtesy Neal Meltzer Fine Art, New York "Number 3" "Number 3, 1952" (1952), enamel on unprimed canvas, by Jackson Pollock.

Credit: © 2015 The Pollock-Krasner Foundation/ARS, New York/Glenstone "Number 22" Jackson Pollock outside his studio in East Hampton, Long Island, with "Number 22, 1951," 1952. Photograph by Hans Namuth. Credit: Hans Namuth/Courtesy of Center for Creative Photography, University of Arizona/© 1991 Hans Namuth Estate "Portrait and a Dream" "Portrait and a Dream" (1953), oil and enamel on canvas, by Jackson Pollock. Credit: © Pollock-Krasner Foundation/ARS, New York/Dallas Museum of Art "Untitled" "Untitled" (c. 1949-50) by Jackson Pollock Credit: Collection of Gail and Tony Ganz "Untitled" "Untitled" (c. 1949), plaster and paint on wire, by Jackson Pollock.

Credit: Museum of Fine Arts, Houston "Number 1A" In addition to the Dallas Museum of Art exhibition, the Museum of Modern Art in New York City - which has more Pollocks than any other museum - is displaying nearly everything it owns of the artist (some 60 works) in a show called "Jackson Pollock: A Collection Survey 1934-1954" (through May 1, 2016). Pictured: "Number 1A, 1948" (1948), oil and enamel paint on canvas, by Jackson Pollock. Credit: © 2016 Pollock-Krasner Foundation/ARS, New York/Museum of Modern Art "Number 18" "Number 18" (1950), oil and enamel on masonite, by Jackson Pollock, on display at the Guggenheim Museum in New York . Jackson Pollock would return to color, but by the mid-1950s he was drinking, and cheating on his wife. Then in 1956 he crashed his car while driving drunk.

Pollock and another passenger were killed; his mistress, also in the car, was injured. Credit: © 2016 Pollock-Krasner Foundation/ARS, New York/Guggenheim Museum "Autumn Rhythm" "Autumn Rhythm (Number 30)" (1950), enamel on canvas, by Jackson Pollock, on display at the Metropolitan Museum of Art in New York . For more info: 1000+ images about Lee Krasner (Abstract) on Pinterest | Jackson pollock, Muse and Abstract expressionism Pinterest • The world’s catalog of ideas Lee Krasner (Abstract) Lee Krasner ( 1908-1984) was an influential American abstract expressionist painter in the second half of the 20th century. On October 25, 1945, she married artist Jackson Pollock, who was also influential in the abstract expressionism movement. Krasner would often cut apart her own drawings and paintings to create collages as a result, her surviving body of work is relatively small. Her catalogue raisonné, published in 1995 by Abrams, lists only 599 known pieces.

215 Pins267.58k Followers Profile of Jackson Pollock Profile of Jackson Pollock Jackson Pollock was a prolific abstract expressionist painter who achieved fame for his "drip"-style action painting. Get an overview of the life, work, and death of famed painter, Jackson Pollock. Show transcript Hide transcript Transcript: Profile of Jackson Pollock Hi, I'm Marco Cutrone, of Marco Cutrone Fine Arts. I'm here for About.com and I'm going to talk to you a little bit about the life of Jackson Pollock. Jackson Pollock's Early Life Jackson Pollock was an abstract expressionist painter. He achieved a high degree of fame for his expressive, “drip” style of painting. Paul Jackson Pollock was born in Cody, Wyoming on January 28, 1912. He grew up in Arizona and California with his five brothers and parents. I n 1930, Jackson moved to New York City where he trained at the Art Students League. In 1936, Pollock attended a workshop in New York City by David Alfaro Siqueiros. In this workshop, he was exposed to unusual methods of working with paint and unorthodox mediums.

He began to incorporate new techniques into his artwork. He also experimented with his own methods. Jackson Pollock married artist Lee Krasner in 1945. Lee was also an Abstract Expressionist painter. They moved to a home on East Hampton where Jackson converted a barn into a studio. Jackson Pollock and Action Painting In 1947 Pollock began work on his "action" paintings. Pollock started lying canvases on the floor and began experimenting with different techniques of applying the paint to the canvases. He gained acclaim and notoriety for his techniques of pouring and dripping paint on his canvases. He also began using house paint instead of artists' paints. “Mural On Indian Red Ground” is an example of this type of "drip" painting, in which Pollock would pour, splatter, and drip the paint from various instruments onto the canvas. Pollock's Death and Legacy He struggled with alcoholism for much of his life. He died on August 11, 1956 in a car crash. He was 44 years old at the time. The accident is thought to have been alcohol related. Pollock's works left an indelible impression on the art world.

He influenced generations of painters to come from abstract expressionists, to color field painters, to contemporary painters and sculptors. Thank you for watching for watching. For more information, go to: education.about.com. About videos are made available on an "as is" basis, subject to the Terms of Use . Lee Krasner on ArtStack - art online Early life[ edit ] Krasner was born as Lena Krassner (outside the family she was known as Lenore Krasner) on October 27, 1908 in Brooklyn, New York . [1] Krasner was the daughter of Chane ( née Weiss) and Joseph Krasner. [2] Her parents were Russian-Jewish immigrants, from Shpykiv , a Jewish community in what is now Ukraine. Her parents fled to the United States to escape anti-Semitism and the Russo-Japanese War. [3] Her mother Chane changed her name to Anna once she arrived in America. [4] Lee was the fourth of five children, including her sister, Ruth, and the first who was born in America. [5] She was the only one of her siblings to be born in the United States.

[3] Education[ edit ] From an early age, Krasner knew she wanted to pursue art as a career. [5] Krasner's career as an artist began when she was a teenager. [5] She specifically sought out enrollment at Washington Irving High School for Girls since they offered an art major. [5] After graduating from high school, she attended the Women's Art School of Cooper Union on a scholarship. [6] Here, she completed the course work required for a teaching certificate in art. [5] Krasner pursued yet more art education at the illustrious National Academy of Design , completing her course load there in 1932. By 1928, she enrolled in the National Academy of Design. By attending a technical art school, Krasner was able to gain an extensive and thorough artistic education as illustrated through her knowledge of the techniques of the Old Masters . [7] She also became highly skilled in portraying anatomically correct figures. [8] There are relatively few works that survive from this time period apart from a few self-portraits and still lifes since most of the works were burned in a fire.

[7] One of the images that still exists from this time period is her "Self Portrait" painted in 1930. She submitted it to the National Academy in order to enroll in a certain class, but the judges could not believe that the young artist produced a self-portrait en plein air . [7] In it, she depicts herself with a defiant expression surrounded by nature. She also briefly enrolled in the Art Students League of New York in 1928. [9] Here, she took a class led by George Bridgman who emphasized the human form. [9] [10] Krasner was highly influenced by the opening of the Museum of Modern Art in 1929. She was very affected by post-impressionism and grew critical of the academic notions of style she had learned at the National Academy. [8] In the 1930s, she began studying modern art through learning the components of composition, technique, and theory. [8] This initial investigation into modern art formed her work throughout the rest of her career. She began taking classes from Hans Hofmann in 1937, which modernized her approach to the nude and still life .

[10] He emphasized the two-dimensional nature of the picture plane and usage color to create spatial illusion that was not representative of reality through his lessons. [11] Throughout her classes with Hofmann, Krasner worked in an advanced style of cubism , also known as neo-cubism. [12] During the class, a human nude or a still life setting would be the model from which Krasner and other students would have to work. She typically created charcoal drawings of the human models and oil on paper color studies of the still life settings. [12] She typically illustrated female nudes in a cubist manner with tension achieved through the fragmentation of forms and the opposition of light and dark colors. [13] The still lifes illustrated her interest in fauvism since she suspended brightly colored pigment on white backgrounds. [13] It eventually became too difficult for Krasner to support herself as a waitress due to the Great Depression . [14] In order to provide for herself, she joined the Works Progress Administration 's Federal Art Project in 1935. She worked on the mural division as an assistant to Max Spivak.

[15] Her job was to enlarge other artists' designs for large-scaled public murals . Since murals were created to be easily understood and appreciated by the general public, the abstract art Krasner produced was undesirable for murals. [14] While Krasner was happy to have a job, she was dissatisfied since she did not like working with figurative images created by other artists. [14] Throughout the late 1930s and early 1940s, she created gouache sketches in the hopes of one day creating an abstract mural. [16] As soon as one of her proposals for a mural was approved for the WYNC radio station, the Works Progress Administration turned into War Services and all art had to be created for war propaganda. [15] She continued working for War Services by creating collages for the war effort which were displayed in the windows of nineteen department stores in Brooklyn and Manhattan . [17] > [18] She was very involved with the Artists Union during her employment with the WPA but was one of the first to quit the organization when she realized the communists were taking it over.

[15] By being part of this organization, she was able to meet more artists in New York City and enlarge her network. [19] After she quit the Artists Union, she joined the American Abstract Artists . [15] This marks the end of her educational career. [20] While she was a member, she typically exhibited cubist still lifes in a black-gridded cloisonne style which were highly impastoed and gestural . [21] She met future abstract expressionists Willem de Kooning , Arshile Gorky , Franz Kline , Adolph Gottlieb , Mark Rothko , Barnett Newman , Clyfford Still , and Bradley Walker Tomlin through this organization. [22] She lost interest in their usage of hard-edge geometric style after her relationship with Pollock began. [15] Works[ edit ] Krasner is identified as an abstract expressionist due to her abstract, gestural, and expressive works. She worked in painting, collage painting, charcoal drawing, and occasionally mosaics. She would often cut apart her own drawings and paintings to create her collage paintings. She also commonly revised or completely destroyed an entire series of works due to her critical nature.

As a result, her surviving body of work is relatively small. Her catalogue raisonné , published in 1995 by Abrams, lists 599 known pieces. Her changeable nature is reflected throughout her work, which has led critics and scholars to have very different conclusions about her and her work. [23] Her style often goes back and forth between classic structure and baroque action, open form and hard-edge shape, and bright color and monochrome palette. [6] Throughout her career, she refused to adopt a singular, recognizable style and instead embraced change through varying the mood, subject matter, texture, materials, and compositions of her work often. [6] [24] By changing her work style often, she differed from other abstract expressionists since many of them adopted unchanging identities and modes of depiction. [25] Despite these intense variations, her works can typically be recognized through their gestural style, texture, rhythm, and depiction of organic imagery. [6] Her interest in the self, nature, and modern life are themes which commonly surface in her works.

[23] Krasner is often reluctant to discuss the iconography of her work and instead emphasizes the importance of her biography since she claims her art is formed through her individual personality and her emotional state. [26] Early 1940s[ edit ] Throughout the first half of the 1940s, Krasner struggled with creating art that satisfied her critical nature. She was highly affected by seeing Pollock's work for the first time in 1942, causing her to reject Hofmann's cubist style which required working from a human or still life model. [15] [27] She called the work produced during this frustrating time her "grey slab paintings." [15] She would create these paintings by working on a canvas for months, overpainting, scraping paint off, rubbing paint off, and adding more paint until the canvas was nearly monochrome from so much paint build up. [15] She eventually would destroy these works, which is why there is only one painting that exists from this time period.

[15] Krasner's extensive knowledge of cubism was the source of her creative problem since she needed her work to be more expressive and gestural to be considered contemporary and relevant. [28] In the fall of 1945, Krasner destroyed many of her cubist works she created during her studies with Han Hofmann, although the majority of paintings created from 1938 to 1943 survived this reevaluation. [29] Little Images: 1946-1949[ edit ] Beginning in 1946, Krasner began working on her Little Image series. She created around forty of these types of paintings until 1949. [30] They are commonly categorized as mosaic, webbed, or hieroglyphs depending on the style of the image. [31] The mosaic images were created through the thick buildup of paint while her webbed paintings were made through a drip technique in which the paintbrush was always close to the surface of the canvas.

[32] Since she used a drip technique in creating her webbed images, many critics believed upon seeing this work for the first time that she reinterpreted Pollock's chaotic paint splatters. [33] [34] Her hieroglyph paintings are gridded and look like an unreadable, personal script of Krasner's creation. [32] These works demonstrate her anti-figurative concerns, allover approach to the canvas, gestural brushwork, and disregard of naturalistic color. [35] They have little variation of color but are very rich in texture due to the buildup of impasto and also suggest space continuing beyond the canvas. [36] [37] These were her first successful images she created while working from her own imagination rather than a model. [38] The relatively small scale of the images can be attributed to the fact she painted them on an easel in her small studio space in an upstairs bedroom at The Springs. [32] [36] Many scholars interpret these images as Krasner's reworking of Hebrew script.

[31] [39] [40] In an interview later in her career, Krasner admitted to subconsciously working from right to left on her canvases, leading scholars to believe that her Jewish background affected the rendering of her work. [39] Some scholars have interpreted these paintings to represent Krasner's reaction to the tragedy of The Holocaust . [31] [36] [40] Others have claimed that her work with the War Services project caused her to be interested in text and codes since cryptoanalysis was a main concern for winning the war. [41] When she completed the Little Image series in 1949, Krasner again went through a critical phase with her work. She tried out and rejected many new styles and eventually destroyed most of the work she made in the early 1950s. [42] There is evidence that she began experimenting with automatic painting and created black and white hybridized, monstrous figures on large canvases in 1950. [43] These were the paintings that Betty Parsons saw when she visited The Springs that summer, causing Parsons to offer Krasner a show for the fall.

[43] Between the summer and the fall, Krasner again had shifted her style to color field painting and destroyed the figurative automatic paintings she made. [44] The Betty Parsons show was the first solo exhibition Krasner displayed her works at since 1945. [44] After the exhibition, Krasner used the color field paintings to make her collage paintings. Early collage images: 1951-1955[ edit ] By 1951, Krasner started her first series of collage paintings. To create these images, Krasner pasted cut and torn shapes onto all but two of the large-scale color field paintings she created for the Betty Parson's exhibition in 1951. [45] This period marks the time when Krasner stopped working on an easel since she created these works by lying the support on the floor. [46] To make these images, she would pin the separate pieces to a canvas and modify the composition until she was satisfied. She then would paste the fragments on the canvas and add color with a brush when desired.

[47] Most of the collage paintings she created recall plant or organic forms but do not completely resemble a living organism. [48] By using many different materials, she was able to create texture and prevent the image from being entirely flat. [45] The act of tearing and cutting elements for the collage embodies Krasner's expression since these acts are aggressive. [49] She explored contrasts of light and dark colors, hard and soft lines, organic and geometric shapes, and structure and improvisation through these collages. [50] These collage paintings represent Krasner's turn away from nonobjective abstraction. From this period onwards, she created metaphorical and content-laden art which alludes to organic figures or landscapes. [46] From 1951 to 1953, most of her works are made from ripped drawings completed in black ink or wash in a figurative manner. [49] By ripping the paper instead of cutting it, the edges of the figures are much more soft in comparison to the geometric and hard-edged shapes in her previous works.

[49] From 1953 to 1954, she created smaller sized collage paintings that were composed of fragments of undesired works. [51] Some of the discarded works she used were splatter paintings completed by Pollock. [23] Many scholars have expressed different interpretations about why she used Pollock's unwanted canvases. Some assert that she simultaneously demonstrated her admiration for his art while also recontextualizing his aggressive physicality through manipulating his images into a collage format. [23] [52] Others believe that she was creating a sense of intimacy between the two artists, which was lacking in their relationship by this time period, by combining their works together. [53] By 1955, she made collage paintings on a larger scale and varied the material she used for the support, using either masonite , wood, or canvas. [46] These works were first exhibited by Eleanor Ward at the Stable Gallery in 1955, but they received little public acclaim apart from a good review from Greenberg.

[48] [54] Earth Green Series: 1956-1959[ edit ] During the summer of 1956, Krasner started her Earth Green Series. While she started painting these images before Pollock's death, they are considered to reflect her feelings of anger, guilt, pain, and loss she experienced about their relationship before and after he died. [55] This intense emotion she felt during this time caused her art to develop into a more liberated form of her self-expression and pushed the boundaries of conventional, developed concepts of art. [56] Through these large-scale action paintings, she depicts hybridized figures that are made up of organic plant-like forms and anatomical parts, which often allude to both male and female body parts. [55] These forms dominate the canvas, causing it to be crowded and densely packed with bursting and bulging shapes. [57] The pain she experienced during this time is illustrated through the principal usage of flesh tones with blood-red accents in the figures which suggest wounds. [57] The paint drips on the canvas show her speed and willingness to relinquish absolute control, both necessary for portraying her emotions.

[57] By 1957, she continued to create figurative abstract forms in her work, but they suggest more floral elements rather than anatomical. [58] She used brighter colors which were more vibrant and commonly contrasted other colors in the composition. [58] She also would dilute paint or use a dry brush to make the colors more transparent. [58] In 1958, she was commissioned to create two abstract murals for an office building on Broadway. [59] She created two collage maquettes which depicted floral motifs for two entryways of the building. [59] Later, these murals were destroyed in a fire. [59] Umber Series: 1959-1961[ edit ] Krasner's Umber Series paintings were created during a time period when the artist was suffering from insomnia . [60] Since she was working during the nighttime, she had to paint with artificial light rather than daylight, causing her palette to shift from bright, vibrant hues to dull, monochrome colors.

[60] She also was still dealing with the death of Pollock and the recent death of her mother, which caused her to use an aggressive style when creating these images. [61] These mural sized action paintings contrast dark and light severely since white, grays, black, and brown are the predominant colors used. [62] Evidence of her animated brushwork can be seen through the drips and splatters of paint on the canvas. [62] There is no central spot for the viewer to focus on in these works, making the composition highly dynamic and rhythmic. [62] To paint these large-scale images, Krasner would tack the canvas to a wall. [60] These images no longer imply organic forms but instead are often interpreted as violent and turbulent landscapes. [63] Primary Series: 1960s[ edit ] By 1962, she begins using bright colors and allude to floral and plant-like shapes. [64] These works are compositionally similar to her monochrome images due to their large size and rhythmic nature with no central focal point. [65] The palette of these images often contrast one another and allude to tropical landscapes or plants.

[66] She continued working in this style until she suffered an aneurysm , fell, and broke her right wrist in 1963, the wrist she used to paint with. [65] [67] Since she still wanted to work, she painted with her left hand instead. [65] To overcome working with her non-dominant hand, she often would directly apply paint from a tube to the canvas rather than using a brush, causing there to be large patches of white canvas on the surfaces of the images. [65] The gesture and the physicality of these works is more restrained since she is working with her left hand. [65] After recovering from her broken arm, Krasner began working on bright and decorative allover painting which are less aggressive than her Earth Green Series and Umber Series paintings. [68] Often, these images recall calligraphy or floral ornamentation which are not blatantly related to Krasner's emotional state. [68] Floral or calligraphic shapes dominate the canvas, connecting variable brushwork into a single pattern.

[69] By the second half of the 1960s, critics began reassessing Krasner's role in the New York School as a painter and critic who greatly influenced Pollock and Greenberg due to the rise of the feminism. [70] [71] [72] Prior to this, her status as an artist was typically overlooked by critics and scholars due to her relationship with Pollock. [70] Since Pollock is such a large figure in the abstract expressionist movement, it is still often difficult for scholars to discuss her work without mentioning Pollock in some capacity. [73] This reevaluation is reflected in her first retrospective exhibition of her paintings which was held in London at the Whitechapel Gallery in 1965. This exhibition was more well received by critics in comparison to her previous shows in New York. [70] [72] In 1969, Krasner mostly concentrated on creating works on paper with gouache. [74] These works were named either earth, water, seed, or hieroglyphics and often looked similar to a Rorschach test .

[74] Some scholars claim that these images were a critique of Greenberg's theory about the importance of the two-dimensional nature of the canvas. [74] Late career[ edit ] Throughout the 1960s and 1970s, Krasner's work was significantly influenced by postmodern art and emphasized the inherent problems of art as a form of communication. [75] Starting in 1970, Krasner began making large horizontal paintings made up of hard-edge lines and a palette of a few bright colors that contrasted one another. [76] She painted in this style until about 1973. In 1976, she started working on her second series of collage images. She began working on these collages after she was cleaning out her studio and discovered some charcoal drawings mostly of figure studies that she completed from 1937 to 1940. [77] After she saved a few of them, she decided to use the rest in a new series of collages. In these collages, the black and gray shapes of the figure studies are juxtaposed against the blank canvas or the addition of brightly colored paint.

[74] The hard-edged shapes of the cut drawings are reconstructed into curvilinear shapes that recall floral patterns. [77] Texture is induced through the contrast of the smooth paper and rough canvas. [77] Since the figure studies are cut up and rearranged without consideration of their original intention or message, the differences between the old drawings and new structures is highly exaggerated. [78] All of the collages' titles from this series are different verb tenses which is interpreted as a critique of Greenberg's and Michael Fried 's insistence on the presentness of modern art. [79] These works are also considered as a statement about how artists need to reexamine and rework their style in order to stay relevant as they grow older. [80] This collage series was very well received by a large audience when they were exhibited in 1977 at the Pace Gallery . [80] Pollock's influence[ edit ] Although many people believe that Krasner stopped working in the 1940s in order to nurture Pollock's home life and career, she never stopped creating art.

Throughout her career, she went through periods of struggle where she would experiment with new styles that would satisfy her means for expression and harshly critique, revise, or destroy the work she would produce. Because of her self-criticism, there are periods of time where little to none of her work exists, specifically the late 1940s and early 1950s. [81] Krasner and Pollock both had an immense effect on each other's artistic styles and careers. Since Krasner had learned from Hans Hofmann while Pollock received training from Thomas Hart Benton , each artist took different approaches to their work. Krasner learned from Hofmann the importance of the abstracting from nature and emphasizing the flat nature of the canvas while Pollock's training highlighted the importance of complex design from automatic drawing. [82] Krasner's extensive knowledge of modern art helped Pollock since she brought him up to date with what contemporary art should be. He was therefore able to make works that were more organized and cosmopolitan.

[82] Additionally, Krasner was responsible for introducing Pollock to many artists, collectors, and critics who appreciated abstract art such as Willem de Kooning , Peggy Guggenheim , and Clement Greenberg . [82] Pollock also helped Krasner become less restrained when making her work. He inspired her to stop painting from human and still life models in order to free her interior emotions and become more spontaneous and gestural through her work. [82] Krasner struggled with the public's reception of her identity, both as a woman and as the wife of Pollock. When they both exhibited their works at a show called "Artists: Man and Wife" in 1949, an ARTnews reviewer stated: "There is a tendency among some of these wives to 'tidy up' their husband's styles. Lee Krasner (Mrs.

Jackson Pollock) takes her husband's paint and enamels and changes his unrestrained, sweeping lines into neat little squares and triangles." [83] Even after the rise of feminism in the 1960s and 1970s, her career as an artist was always put into relation to Pollock since remarks made about her work often commented on how she had become a successful artist by moving out of Pollock's shadow. [84] In articles about her work, Pollock is continually referred to. Typically in the 1940s and 1950s, she would not sign works at all, sign with the genderless initials "L.K.", or blend her signature into the painting in order to not emphasize her status as a woman and as a wife to another painter. [85] Legacy[ edit ] Pollock-Krasner house in Springs, New York Lee Krasner died in 1984, age 75, from natural causes. She had been suffering from arthritis . Six months after her death, the Museum of Modern Art ( MoMA ) in New York City held a retrospective exhibition of her work.

A review of the exhibition in the New York Times noted that it "clearly defines Krasner's place in the New York School" and that she "is a major, independent artist of the pioneer Abstract Expressionist generation, whose stirring work ranks high among that produced here in the last half-century." [86] As of 2008, Krasner is one of only four women artists to have had a retrospective show at the Museum of Modern Art. The other three women artists are Louise Bourgeois (MoMA retrospective in 1982), Helen Frankenthaler (MoMA retrospective in 1989) and Elizabeth Murray (MoMA retrospective in 2004). [87] Her papers were donated to the Archives of American Art in 1985; they were digitized and posted on the web for researchers in 2009. [88] Installation view of solo exhibition of Krasner's work at the Brooklyn Museum in 1984 After her death, her East Hampton property became the Pollock-Krasner House and Studio , and is open to the public for tours.

A separate organization, the Pollock-Krasner Foundation , was established in 1985. The Foundation functions as the official Estate for both Lee Krasner and Jackson Pollock, and also, under the terms of her will, serves "to assist individual working artists of merit with financial need." [89] The U.S. copyright representative for the Pollock-Krasner Foundation is the Artists Rights Society . [90] Lee Krasner's grave in front, with Jackson Pollock's grave in the rear, Green River Cemetery Krasner was portrayed in an Academy Award -winning performance by Marcia Gay Harden in the 2000 film Pollock , a drama about the life of her husband Jackson Pollock , directed by Ed Harris . In John Updike 's novel Seek My Face (2002), a significant portion of the main character's life is based on Krasner's. Personal life[ edit ] Relationship with Jackson Pollock[ edit ] Lee Krasner and Jackson Pollock established a relationship with one another in 1942 after they both exhibited at the McMillen Gallery.

Krasner was intrigued by his work and the fact she did not know who he was since she knew many abstract painters in New York. She went to his apartment to meet him. [18] [91] By 1945, they moved to The Springs on the outskirts of East Hampton. In the summer of that year, they got married in a church with two witnesses present. [92] While the two lived in the farmhouse in The Springs, they both continued creating art. They worked in separate studio spaces on their property. Krasner worked in an upstairs bedroom in the house while Pollock worked in the barn in their backyard. [93] When they were not working, the two spent their time cooking, baking, gardening, keeping the house organized, and entertaining friends. [93] By 1956, their relationship became strained as they faced certain issues. Pollock had begun struggling with his alcoholism again and was partaking in an extramarital affair with Ruth Kligman . [94] Krasner left in the summertime to visit friends in Europe but had to quickly return when Pollock died in a car crash while she was away.

[94] Religion[ edit ] Krasner was brought up in an orthodox Jewish home throughout her childhood and adolescence. They lived in Brownsville, Brooklyn which had a large population of poor Jewish immigrants. [95] Her father spent most of his time practicing Judaism while her mother upheld the household and the family business. [95] Krasner appreciated aspects of Judaism like Hebrew script , prayers, and religious stories. As a teenager, she grew critical of what she perceived as misogyny in orthodox Judaism. [96] In an interview later in her life, Krasner recalls reading a prayer translation and thinking it was "indeed a beautiful prayer in every sense except for the closing of it... if you are a male you say, 'Thank You, O Lord, for creating me in Your image'; and if you are a woman you say, 'Thank You, O Lord, for creating me as You saw fit.'" [96] She also began reading existentialist philosophies during this time period, causing her to turn away from Judaism even further. [97] While she married Pollock in a church, Krasner continued to identify herself as Jewish but decided to not practice the religion.

[97] Her identity as a Jewish woman has affected how scholars interpret the meaning of her art. [97] List of major works[ edit ] Jackson Pollock | MoMA Jackson Pollock Wikipedia entry Introduction Paul Jackson Pollock (January 28, 1912 – August 11, 1956), known professionally as Jackson Pollock, was an American painter and a major figure in the abstract expressionist movement. He was well known for his unique style of drip painting. During his lifetime, Pollock enjoyed considerable fame and notoriety; he was a major artist of his generation. Regarded as reclusive, he had a volatile personality, and struggled with alcoholism for most of his life. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy. Pollock died at the age of 44 in an alcohol-related single-car accident when he was driving. In December 1956, four months after his death, Pollock was given a memorial retrospective exhibition at the Museum of Modern Art (MoMA) in New York City.

A larger, more comprehensive exhibition of his work was held there in 1967. In 1998 and 1999, his work was honored with large-scale retrospective exhibitions at MoMA and at The Tate in London. Wikidata Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License Getty record Introduction Pollock was one of the leading proponents of Abstract Expression in the 1940s and 1950s. His art, lifestyle, and untimely death have been elevated to the status of legend. In 1928, he studied at the Manual Arts High School in Los Angeles, and during this time was exposed to European modernism, analytical psychology, and Surrealist automatism. In 1930, he settled in New York, and studied with the Regionalist painter Thomas Hart Benton. During the 1930s he lived in poverty and worked as a mural assistant for the Works Progress Administration Federal Art Project. His work before 1938 shows the influence of Benton, Albert Pinkham Ryder, and the Mexican muralists. In 1938, he was hospitalized for alcoholism during which time he used automatic drawing as therapy.

From this, Pollock developed his early style, one of totemic male and female figures and images of eyes or mythic beasts that constituted a personal iconography. A fine example of this period is "Guardians of the Secret," a work of late-Surrealist style and frenetic brushwork that would hint at his later mature style. He met the painter Lee Krasner in 1941, and they married in 1945. Pollock is best known for working methods of pouring or dripping paint onto a large canvas on the floor, moving about it as he worked, the entire art process being a kind of performance. Typically moving from left to right as if "writing" the work, Pollock laid the key vertical and horizontal elements down first, mostly black or white, and then intertwined subsequent colors within it. This method of organizing a space into panels echoes Benton's theories of mural composition. Pollock was one of the first celebrity painters of the Post-War era in the USA, his free-form style and dramatic personality capturing the spirit of the Beat Generation of the early 1950s. He was killed in a car accident in 1956. Nationality U.S.

Department of State - Art in Embassies x Lee Krasner (October 27, 1908 — June 19, 1984) was an influential abstract expressionist painter in the second half of the 20th century. On October 25, 1945, she married artist Jackson Pollock, who was also influential in the Abstract Expressionism movement. Krasner was born as Lena Krassner (outside the family she was known as Lenore Krasner) in Brooklyn, New York to Russian Jewish immigrant parents from Bessarabia. She studied at The Cooper Union and the National Academy of Design, and worked on the WPA Federal Art Project from 1935 to 1943. Starting in 1937, she took classes with Hans Hofmann, who taught the principles of cubism, and his influence helped to direct Krasner's work toward neo-cubist abstraction. When commenting on her work, Hofmann stated, "This is so good you would not know it was painted by a woman." In 1940, she started showing her works with the American Abstract Artists, a group of American painters.

Krasner would often cut apart her own drawings and paintings to create collages and, at times, revised or discarded an entire series. As a result, her surviving body of work is relatively small. Her catalogue raisonné, published in 1995 by Abrams, lists only 599 known pieces. She was rigorously self-critical, and her critical eye is believed to have been important to Pollock's work. Krasner struggled with the public's reception of her identity, both as a woman and as the wife of Pollock. Therefore she often signed her works with the genderless initials "L.K." instead of her more recognizable full name. Krasner and Pollock gave each other reassurance and support during a period when neither's work was well-appreciated. Like Picasso during the brief period of his interaction with Braque, the daily give-and-take of Pollock and Krasner stimulated both artists. Pollock and Krasner fought a battle for legitimacy, impulsiveness and individual expression. They opposed an old-fashioned, conformist, and repressed culture unreceptive to these values, which was put off by the intricacy of Modernism in general.

Lee Krasner died in 1984, age 75, from natural causes. Six months after her death, the Museum of Modern Art (MoMA) in New York City held a retrospective exhibition of her work. A review of the exhibition in the New York Times noted that it "clearly defines Krasner's place in the New York School" and that she "is a major, independent artist of the pioneer Abstract Expressionist generation, whose stirring work ranks high among that produced here in the last half-century." Close

Question: Which abstract expressionist painter married Lee Krasner in 1945?
Answer: Jackson Pollock